This site uses cookies, for analytic purposes and to provide enhancements to the user experience. If you click the "Accept Cookies" button, you can continue without further intrusion. Otherwise, you can click the close button at upper right to hide this notice, but your use of this website may be impacted. For more information visit our Privacy Policy page.

Home / Blog

When I first looked locally for what they called “gallery representation,” I had a talk with a gallery owner who told me it took twenty years to make a painter; i.e., such a relationship was a big investment for him. It was 1995 and I was 60 years old. Looking me over, he said that he didn’t think I had that long. (Even if I get credit for the past 5 years? I wondered.) This fellow shall remain nameless though I remember his realism. Unrepresented to this day, I’ve stayed at the easel the required length of time, and finding myself still standing, believe it’s time to have a virtual look at the trail behind—and, perhaps, some space ahead. For starters, begin in the middle: so here’s Bringing Forth II: an inception with prospects for forward movement, Bringing Forth II (though it invokes conception) is hardly conceptual art although it has certain narrative qualities & some written content. It makes a good point from which to summon up a sample of works over time, alongside thoughts about how I look at them. The painting features a central figure whose bulges are echoed in the art nouveau carvings that decorate an overarching Paris Metro entrance . Conception began during a walk along the park where the Canal St. Martin goes underground on its way to the Seine. One Sunday on the way to the market at Bastille Place, a pregnant woman entered the space ahead, and I reached for my camera. (It’s my habit to go about with the little black box, some kind of insurance that not all the wonders will be lost).